Connie Francis (born Concetta Rosa Maria Franconero; December 12, 1937)[2] is an American pop singer, actress, and top-charting female vocalist of the late 1950s and early 1960s. She is estimated to have sold more than 100 million records worldwide.[3]
In 1960, Francis was recognized as the most successful female artist in Germany, Japan, the United Kingdom, Italy, and Australia, and in every other country where records were purchased.[4] She was the first woman in history to reach No. 1 on the Billboard Hot 100, just one of her other 53 career hits.[5]
Biography
1937–1955: early life and first appearances
Francis was born to an Italian-American family in the Ironbound neighborhood of Newark, New Jersey, the first child of George Franconero and Ida (née Ferrari-di Vito), spending her first years in the Crown Heights, Brooklyn area (Utica Avenue/St. Marks Avenue) before the family moved to New Jersey.[6]
Growing up in an Italian-Jewish neighborhood, Francis became fluent in Yiddish, which led her later to record songs in Yiddish and Hebrew.[6][7]
In her autobiography Who's Sorry Now? published in 1984, Francis recalls that she was encouraged by her father to appear regularly at talent contests, pageants, and other neighborhood festivities from the age of four as a singer and accordion player.
Francis continued to perform at neighborhood festivities and talent shows (some of them broadcast on television), appearing alternately as Concetta Franconero and Connie Franconero. Under the latter name, she appeared on NBC's variety show Startime Kids between 1953 and 1955.[6]
During rehearsals for her appearance on Arthur Godfrey's Talent Scouts in December 1950, Francis was advised by Godfrey to change her stage name to Connie Francis for easier pronunciation. Godfrey also told her to drop the accordion—advice she gladly followed, as she had begun to hate the large and heavy instrument.[6] Around the same time, Francis took a job as a singer on demonstration records, to bring unreleased songs to the attention of established singers and/or their management who might choose to record them for a professional commercial record.[10]
1955–1957: recording contract but commercial failure
In 1955, Startime Kids went off the air. In May that same year,[11] George Franconero Sr. and Francis's manager George Scheck raised money for a recording session of four songs which they hoped to sell to a major record company under Francis's own name. Even when MGM Records decided to sign a contract with her, it was because one track she had recorded, "Freddy", happened to be the name of the son of a company executive, Harry A. Meyerson, who thought of the song as a nice birthday gift. Hence, "Freddy" was released as Francis's first single, which turned out to be a commercial failure, just like her next eight solo singles.[6]
In the fall of 1957, Francis enjoyed her first modest success with a duet single she had recorded with Marvin Rainwater: "The Majesty of Love", with "You, My Darlin' You" as the B-side, peaked at number 93 on the Billboard Hot 100.[13] Eventually, the single sold over one million copies.[10]
However, her minor chart success came too late for her record label—Francis's recording contract consisted of ten solo singles and one duet single. Though success had finally seemed to come with "The Majesty of Love", Francis was informed by MGM Records that her contract would not be renewed after her last solo single.
Francis considered a career in medicine and was about to accept a four-year scholarship offered at New York University. At what was to have been her final recording session for MGM on October 2, 1957, with Joe Lipman and his orchestra,[11] she recorded a cover version of the 1923 song "Who's Sorry Now?" written by Bert Kalmar and Harry Ruby. Francis has said that she recorded it at the insistence of her father, who was convinced it stood a chance of becoming a hit because it was a song adults already knew and that teenagers would dance to if it had a contemporary arrangement.[14]
Francis did not like the song and argued about it with her father heatedly, delaying the recording of the two other songs during the session so much that she thought no time was left on the continuously running recording tape.[15] Her father insisted, though, and when the recording "Who's Sorry Now?" was finished, only a few seconds remained on the tape.[6]
The single seemed to go unnoticed like all previous releases, just as Francis had predicted, but on January 1, 1958, it debuted on Dick Clark's American Bandstand. Francis watched the show and wrote in her diary:
I heard Dick Clark mention something about a new girl singer. So, what else is new? Another girl singer. There are ninety-five million females in the country, and I'll bet ninety-five percent of them sing. "There's no doubt about it", predicted Mr. Clark. "She's is headed straight for the number one spot". I began feeling sorry for myself and a bit envious, too. Good luck to her, I thought. And then Mr. Clark just happened to play a song called "Who's sorry now" - MY "Who's Sorry Now"! Well, the feeling was cosmic - just cosmic! Right there in my living-room, it became Mardi Gras-time and New Year's Eve at the turn of the century!
Francis on the January 31, 1959 cover of Cashbox magazine
And on February 15 of that same year, Francis performed it on the first episode of The Saturday Night Beechnut Show, also hosted by Clark. By mid-year, over a million copies had been sold, and Francis was suddenly launched into worldwide stardom. In April 1958, "Who's Sorry Now?" reached number 1 on the UK Singles Chart and number 4 in the US.[16] For the next four years, Francis was voted the "Best Female Vocalist" by American Bandstand viewers.[6]
As Connie Francis explains at each of her concerts, she began searching for a new hit immediately after the success of "Who's Sorry Now?" since MGM Records had renewed her contract. After the relative failure of the follow-up singles "I'm Sorry I Made You Cry," which stalled at No.36) and "Heartaches", failing to chart at all, Francis met Neil Sedaka and Howard Greenfield, who sang a number of ballads they had written for her. After a few hours, Francis began writing in her diary while the songwriters played the last of their ballads. This, and her refusal to let Sedaka and Greenfield see the diary to mine it for material, inspired the duo to write Sedaka's own breakthrough hit "The Diary.") Afterwards, Francis told them that she considered their ballads too intellectual and sophisticated for the young generation and requested a more lively song. Greenfield urged Sedaka to sing a song they had written that morning with the Shepherd Sisters in mind. Sedaka protested that Francis would be insulted, but Greenfield said that since she hated all the other songs they had performed, they had nothing to lose. Sedaka then played "Stupid Cupid." When he finished, Francis announced that he had just played her new hit song. It went on to reach number 14 on the Billboard chart and was her second number 1 in the UK.[16]
The success of "Stupid Cupid" restored momentum to Francis' chart career, and she reached the U.S. top 40 an additional eight times during the remainder of the 1950s.[16] She managed to churn out more hits by covering several older songs, such as "My Happiness" (number 2 on the Hot 100) and "Among My Souvenirs" (number 7), as well as performing her own original songs. In 1959, she gained two gold records for a double-sided hit: on the A-side, "Lipstick on Your Collar" (number 5), and on the B-side, "Frankie" (number 9).
1959–1973: international recording star
Following another idea from her father, Francis traveled to London in August 1959[11] to record an Italian album at EMI's famous Abbey Road Studios.[10] Titled Connie Francis Sings Italian Favorites, the album was released in November 1959. It soon entered the album charts where it remained for 81 weeks, peaking at number 4 and becoming Francis's most successful album. "Mama," the single taken from the album, reached number 8 in the United States and number 2 in the United Kingdom.[17]
Following this success, Francis recorded seven more albums of "favorites" between 1960 and 1964, including Jewish, German, and Irish, among others. These albums marked Francis's transition from the youth-oriented rock 'n' roll music to adult contemporary music, which George Franconero, Sr. had realized would be necessary if his daughter was to have a successful longterm music career.
The success of "Connie Francis Sings Italian Favorites" in late 1959/early 1960 led Francis to become one of the first American artists to record regularly in other languages. She was followed by other major British and American recording stars including Wanda Jackson, Cliff Richard, Petula Clark, Brenda Lee, the Supremes, Peggy March, Pat Boone, Lesley Gore, the Beatles and Johnny Cash, among many others. In her autobiography, Francis mentioned that in the early years of her career, the language barrier in some European countries, especially in Germany, made it difficult for her songs to get airplay.
Francis used these reflections as the basis for her April 1960 recording, "Everybody's Somebody's Fool" which would go on to become the first single by a female artist to top the Hot 100.[18] Veteran lyricist Ralph Maria Siegel penned a set of German lyrics, named "Die Liebe ist ein seltsames Spiel", which, after some friction between Francis and her MGM executives, was recorded and released.[6] The song peaked at number 1 in West Germany.[19] She had two more number one hits there, "Paradiso" in September 1962 and "Barcarole in der Nacht" in July 1963.
It was not until her number 7 on the US charts, "Many Tears Ago", later in 1960 when Francis began to record cover versions of her songs in foreign languages other than German. Over the years she expanded her recording portfolio to 15 languages. She also sang in Romanian during a live performance at the 1970 edition of the Cerbul de Aur in Brașov, Romania. Francis was not fluent in all of these languages and she had to learn her foreign language songs phonetically. Francis explained in a 1961 television interview that she was fluent in Spanish and Italian, but always had a translator nearby to make sure her translated lyrics and especially her pronunciation were as correct as possible.
Billboard ad for Francis's final top-ten hit, "Vacation", July 14, 1962
In the wake of "Die Liebe ist ein seltsames Spiel", Francis enjoyed her greatest successes outside the United States. During the 1960s, her songs not only topped the charts in numerous countries around the world, but she was also voted the number 1 singer in over 10 countries. In 1960, she was named the most popular artist in Europe, the first time a non-European received this honor. From mid-1961 to mid-1963, Radio Luxembourg closed each day's broadcasts with "It's Time to Say Goodnight", a song Francis had recorded especially for them and was not officially released until 1996.[20]
Francis's enduring popularity overseas led to television specials in countries around the world such as Britain, Germany, Spain and Italy. Even at the height of the Cold War, Francis's music was well received in Iron Curtain countries, and some of her recordings were made available on state-owned record labels such as Melodiya in the former Soviet Union and on Jugoton in former Yugoslavia,[20] although it was common knowledge that rock 'n' roll was highly disparaged in Eastern bloc countries.
In the US, Connie Francis had a third number-one hit in 1962: "Don't Break the Heart That Loves You", and her success led MGM to allow her complete freedom to choose whichever songs she wanted to record.[10]
Francis's first autobiography, For Every Young Heart, was published in 1963. On July 3 that same year, she played a Royal Command Performance for Queen Elizabeth II at the Alhambra Theatre in Glasgow, Scotland. During the height of the Vietnam War in 1967, Connie Francis performed for US troops.[21][22] Francis recalls this story frequently during the introduction to "God Bless America" at her live concerts.
Due to music trends in the early and mid-1960s, especially the British Invasion, Francis's chart success on Billboard's Hot 100 began to wane after 1963. She had her final top-ten hit, "Vacation", in 1962. A number of Francis's singles reached the top 40 in the US Hot 100 in the mid-1960s, with her last top-40 entry in 1964 being her cover version of "Be Anything (but Be Mine)", a 1952 song made famous by singer/bandleader Eddy Howard. Despite her declining success on the Hot 100, Francis remained a top concert draw, and her singles – with a more mature style – were charting on the top quarter of Billboard'sAdult Contemporary (AC) Charts and sometimes even reached Billboard'sCountry Charts. Francis enjoyed lasting chart success in the US until her contract with MGM Records expired in 1969.[17]
In 1965, Connie Francis participated in that year's edition of the annual San Remo Festival, where her team partner Gigliola Cinquetti and she presented "Ho bisogno di vederti", which finished on number 5 of the final ranking.
Connie Francis c. 1970
Francis returned to San Remo in 1967 to present "Canta Ragazzina" with her team partner Bobby Solo.[23] In the US, however, "Time Alone Will Tell", Francis's cover version of San Remo's 1967 winning entry "Non pensare a me" which had been presented by Iva Zanicchi and Claudio Villa, peaked at number 94 on Billboard's Hot 100 and at number 14 on Billboard's AC charts.[17]
After her modest success with "(Should I) Tie a Yellow Ribbon Round the Old Oak Tree?" Francis began performing regularly again. While appearing at the Westbury Music Fair in New York, on November 8, 1974, Francis was raped at the Jericho TurnpikeHoward Johnson's Lodge in Jericho, New York, and nearly suffocated under the weight of a heavy mattress the culprit had thrown upon her.[6] She subsequently sued the motel chain for failing to provide adequate security and reportedly won a $2.5 million judgment,[26] one of the largest such judgments in history, leading to a reform in hotel security. Her rapist was never found.[27] In the years after the incident, Francis went into depression, taking as many as 50 Darvon pills a day and rarely leaving her home in Essex Fells, New Jersey.[28]
In 1977, Francis underwent nasal surgery and completely lost her voice. She went through three more operations and was unable to sing for four years.[15][21]
In 1978, Francis returned to the recording studio to cut an album titled Who's Happy Now?[29] The lead recording on this album was a disco version of "Where the Boys Are". That and other songs from the Who's Happy Now? sessions were subsequently recorded in Italian, Spanish, Japanese, and German. The Spanish and German recordings became albums of their own in as Connie Francis en Español in Spain and as Was ich bin (What I Am) in Germany. All three albums and the singles culled from them were released on United Artists Records.
Francis returned again to the studio in 1981 to cut "Comme ci, comme ça", and "I'm Me Again", the latter of which became the title track of an album which featured the new songs.[30] "I'm Me Again" became Francis' last single to chart on the AC charts.[16]
1981–1988: more tragedy
In 1981, further tragedy struck Francis when her brother, George Franconero, Jr., with whom she was very close, was murdered by Mafia hitmen.[6][31]
Despite that, she took up live performing again, even gracing the American Bandstand 30th Anniversary Special and appearing in the town where she had been raped. Francis' new-found success was short-lived, though. She was diagnosed with manic depression, which again brought her career to a halt. She was committed to multiple psychiatric hospitals.[32][33][34] Francis attempted suicide in 1984.[34]
Nevertheless, in 1984, Francis was able to write and publish her autobiography, Who's Sorry Now?, which became a New York Times bestseller.
1989–2018: later career
In 1989, Francis resumed her recording and performing career once again. For Malaco Records, Francis recorded a double album entitled Where the Hits Are, containing re-recordings of 18 of her biggest hits, as well as six classics of yesteryear Francis had always wanted to record such as "Are You Lonesome Tonight?" and "Torn Between Two Lovers".
In 1992, a medley of remixed versions of her biggest German hits charted in Germany.[35] A single, entitled "Jive, Connie", ended up among the top-ten best-selling singles of the year, which brought Francis the prestigious R.SH-Gold award for the "Best Comeback of the Year" from R.SH (short for "Radio Schleswig-Holstein"), then one of Germany's most important private radio stations.[36] A subsequent compilation album of her biggest German hits in their original versions was also released successfully. In the wake of this, Francis recorded two duets for the German Herzklang label (a subsidiary of Sony Music Entertainment) with Peter Kraus, with whom she had already worked several times in the late 1950s and early 1960s. A German-language solo album was supposed to follow on Herzklang, but despite all songs being recorded and mixed, the album remains unreleased.
In 1996, Francis released the live album The Return Concert: Live at Trump's Castle.[37] That same year, she also released With Love to Buddy, a tribute album of songs made famous by the late Buddy Holly.
In late December 2004, Francis headlined in Las Vegas for the first time since 1989.[21] In March and October 2007, Francis performed to sold-out crowds at the Castro Theatre in San Francisco.[38] She appeared in concert in Manila, Philippines, on Valentine's Day 2008.[39]
Concetta Literary Corporation / Baker & Taylor Publisher Services
978-0999238905 (paperback) and 978-0999238912 (hardcover)
Personal life
Marriages
Francis was married four times. In 1964, she was briefly married to Dick Kanellis, a press agent and entertainment director for the Aladdin Hotel.[45] In January 1971, she married Izzy Marion, a hair-salon owner, divorcing 10 months later.[46][47] In 1973, Francis married for the third time–her only marriage to last more than a few months– to Joseph Garzilli, a restaurateur and travel-agency owner; they divorced in 1977.[48] It was during the third marriage that Francis adopted a baby boy, Joey.[49] Francis married TV producer Bob Parkinson on June 27, 1985, divorcing later that year.[48]
Relationship with Bobby Darin
Early in her career, Francis was introduced to Bobby Darin, then an up-and-coming singer and songwriter. Darin's manager arranged for him to help write several songs for her. Despite some disagreement about material, after several weeks Darin and Francis developed a romantic relationship. Francis' strict Italian father would separate the couple whenever possible. When her father learned that Darin had suggested the two elope after one of her shows, he ran Darin out of the building at gunpoint.[50][51]
Francis saw Darin only two more times: once when the two were scheduled to sing together for a television show, and again when she was spotlighted on the TV series This Is Your Life. By the time of the latter's taping, Darin had married actress Sandra Dee. In her autobiography, Francis stated she and her father were driving into the Lincoln Tunnel when the radio DJ announced Dee and Darin's marriage. Her father made a negative comment about Darin finally being out of their lives. Angered, Francis wrote she hoped the Hudson River would fill the Lincoln Tunnel, killing both her and her father; she later wrote that not marrying Darin was the biggest mistake of her life.[6]
Relationship with Tony Ferretti
In a Facebook post dated January 22, 2022, Francis reported the passing of Tony Ferretti, "my sole companion of the past 18 years."[52] On February 13, a video uploaded to her official YouTube channel featured Francis and Ferretti performing a duet of the song "You Made Me Love You."[53]
Biopic
Francis and singer Gloria Estefan completed a screenplay for a movie based on Francis' life titled Who's Sorry Now? Estefan announced that she would produce and play the lead. She said, "[Connie Francis] isn't even in the Rock and Roll Hall of Fame, and yet she was the first female pop star worldwide, and has recorded in nine languages. She has done a lot of things for victims' rights since her rape in the '70s.... There's a major story there." In December 2009 the film project was dropped. According to Francis:
They chose to use amateur writers to write the screenplay. I wanted the writer Robert Freeman who wrote that miniseries Life with Judy Garland: Me and My Shadows, which won I don't know how many Emmy Awards, but Gloria and company were unwilling to hire that writer. I absolutely adored his screenplay of Judy's life ... he was so eager to do my life story for film, but she [Gloria] wouldn't agree to hire him and that was the end of that. And I'm sorry I wasted ten years with those people [i.e. the Estefans].[54]
In the same article, Francis said that Dolly Parton had been contacting her for years trying to produce her life story, but owing to her previous commitment to Estefan's organization, she was not able to accept Parton's offer. She noted in the article that both she and Parton had considered, independently of each other, actress Valerie Bertinelli to play Francis.[54]
In the 1980s, Ronald Reagan appointed her as head of his task force on violent crime. She has also been the spokeswoman for Mental Health America's trauma campaign, as well as an involved worker for the USO and UNICEF.
In a 2011 interview, Francis described herself as "a die-hard liberal".[56]
Lawsuits
Francis brought a suit alleging that Universal Music Group (UMG) took advantage of her condition and stopped paying royalties. The lawsuit was dismissed.
On November 27, 2002, she filed a second suit against UMG alleging the label had inflicted severe emotional distress on her and violated her moral rights when, without her permission, it synchronized several of her songs into "sexually themed" movies: the 1994 film Post Cards from America, the 1996 film The Craft, and the 1999 film Jawbreaker.[57] This suit was also dismissed.[58]
Francis also sued the producers of Jawbreaker for using her song "Lollipop Lips," which is heard during a sex scene.[59]
A "Connie Francis Way" street sign is displayed at the corner of Greylock Parkway and Forest Street in Belleville, New Jersey, near the house in which she grew up.[61]
"Mack the Knife" or "The Ballad of Mack the Knife" is a song composed by Kurt Weill with lyrics by Bertolt Brecht for their 1928 music drama The Threepenny Opera. The song tells of a knife-wielding criminal of the London underworld from the musical named Macheath, the "Mack the Knife" of the title.
Neil Sedaka is an American singer, songwriter and pianist. Since his music career began in 1957, he has sold millions of records worldwide and has written or co-written over 500 songs for himself and other artists, collaborating mostly with lyricists Howard "Howie" Greenfield and Phil Cody.
"Who's Sorry Now?" is a popular song with music written by Ted Snyder and lyrics by Bert Kalmar and Harry Ruby. It was published in 1923 as a waltz. Isham Jones had a hit recording in 1923 with the song arranged as a foxtrot. Later sheet music arrangements, such as the 1946 publication that was a tie-in to the film A Night in Casablanca, were published in 2 2 time. Other popular versions in 1923 were by Marion Harris, Original Memphis Five, Lewis James, and Irving Kaufman.
"Dream Lover" is a song written by American musician Bobby Darin. Darin recorded his composition on March 5, 1959 and released it as a single the following month. It was produced by Ahmet Ertegun and Jerry Wexler and engineered by Tom Dowd.
"Everybody's Somebody's Fool" is a song written by Jack Keller and Howard Greenfield that was a No. 1 hit for Connie Francis in 1960. A polka-style version in German, "Die Liebe ist ein seltsames Spiel", was the first German single recorded and released by Connie Francis, and it reached No. 1 on the single chart in 1960 in West Germany.
"My Heart Has a Mind of Its Own" is a song written by Howard Greenfield and Jack Keller which was a No. 1 hit for Connie Francis in 1960.
"Lara's Theme" is the name given to a leitmotif written for the 1965 film Doctor Zhivago by composer Maurice Jarre. Soon afterward, the leitmotif became the basis of the song "Somewhere, My Love". Numerous versions, both orchestral and vocal, have been recorded, among the most popular was the version by Ray Conniff Singers.
"Don't Break the Heart That Loves You" is an American song written by Benny Davis and Murray Mencher. The song was a success for two artists in two different genres: Connie Francis in the pop field in 1962 and Margo Smith as a country version in 1978.
"Love Will Keep Us Together" is a song written by Neil Sedaka and Howard Greenfield. It was first recorded by Sedaka in 1973. The brother-sister duo Mac and Katie Kissoon also recorded a version in 1973. American pop duo Captain & Tennille covered it in 1975; their version became a worldwide hit.
"Paper Roses" is a popular song written and composed by Fred Spielman and Janice Torre. It first was a top five hit in 1960 for Anita Bryant. Marie Osmond recorded it in 1973 and took her version to number one on the US country chart.
"Follow the Boys" is a 1963 romantic ballad written to serve as the theme song for the 1963 comedy film of the same name: the song was introduced in the film by its top billed star: Connie Francis, for whom "Follow the Boys" was a Top 20 hit single.
Connie Smith Sings Bill Anderson is the eighth studio album by American country singer Connie Smith. It was released in May 1967 by RCA Victor and featured 12 tracks. The album was dedicated to her mentor, Bill Anderson. It contained several songs made popular by Anderson himself, along with several tracks made popular by other performers. It also included the newly-recorded "Cincinnati, Ohio". Smith released her version as a single, which climbed into the top five of the American country songs charts. The album received favorable reviews following its release.
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"Stupid Cupid" is a song written by Howard Greenfield and Neil Sedaka which became a hit for Connie Francis in 1958.
"Lipstick on Your Collar" is a song written by Brill Building staff writers Edna Lewis (lyrics) and George Goehring (music) which was a 1959 hit single for Connie Francis.
This is the discography of American pop singer Connie Francis. Throughout her career, she has sold 100 million records worldwide. In 1959, she was recognized as the then best-selling female recording artist in Germany and was once hailed as the worlds best-selling female vocalist in history at that time. She was the first woman to reach #1 on Billboard Hot 100. Billboard ranked her as the 8th Top Artist of the Decade (60s).
Who's Sorry Now? is the first studio album recorded by U. S. Entertainer Connie Francis.
"Where the Boys Are" is a song written by Neil Sedaka and Howard Greenfield for, and first recorded by, Connie Francis as the title track of the 1960 movie by the same name in which she was co-starring.
1 2 3 4 William Ruhlmann: Connie Francis 1955–1959, companion book to 5 CD Boxed Set White Sox, Pink Lipstick... and Stupid Cupid, Bear Family Records BCD 16 616 EI, Hambergen (Germany) 1993
1 2 Ron Roberts: Connie Francis 1960–1962, companion book to 5 CD Boxed Set "Kissin', Twistin', Goin' Where the Boys Are", Bear Family Records BCD 16 826 EI, Hambergen (Germany) 1996
↑ Richard Weize: Connie Francis, companion book to 8 LP Boxed Set "Connie Francis in Deutschland", Bear Family Records BFX 15 305, Hambergen/Vollersode (Germany) 1988
↑ Jan Feddersen: Connie Francis, companion book to 5 CD Boxed Set "Lass mir die bunten Träume", Bear Family Records BCD 15 786 AH, Hambergen (Germany) 1994
↑ Clayton W. Barrows – Tom Powers, Introduction to Management in the Hospitality Industry (9th edition), John Wiley & Sons, Inc., Hoboken, New Jersey, 2009, pg. 319
↑ Robertson, Nan. "CONNIE FRANCIS: COMEBACK TRAIL AFTER 7 LOST YEARS", The New York Times, November 9, 1981. Accessed December 26, 2016. "The rape snapped all connection with the outside world. She plummeted into depression, lying in bed for months at a time, watching television, venturing outside her house in Essex Fells, N.J., only to visit her secretary, Anne Fusari, nearby and watch more television."
The Work of Claus Ogerman, a pictorial discography showing albums and singles, along with studio photos and complete liner notes which document Francis' work in the 1960s with this arranger/conductor
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